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The pressure on the food industry and society as a whole to evolve towards more sustainable production and consumption has increased in recent years. There are a number of drivers that can help reduce environmental impacts including legislative instruments, retail marketing and consumer choices and demand. One driver that has received attention recently is the use of product labels, either on a single issue or on multiple issues (using omni‐labelling). The purpose of this paper is to report on a framework that emerged from a wider study exploring effective approaches to environmental labelling of food products.

Techniques for assessing the environmental impacts of food production were reviewed and a consultation was undertaken with industry and consumer experts to ascertain their views (using multi‐criteria mapping) on the practicality and efficacy of environmental labels.

The wider study found that although the science is not sufficiently robust to develop an outcome‐based, environmentally broad, omni‐label at this time, there is a role for environmental labelling in conjunction with other initiatives to improve the sustainability of food production and consumption. The framework presented aims to support this role and help improve the practicality and efficacy of environmental labels. It provides a series of interrelated guidelines which provide a basis for developing more effective, robust, credible and practical environmental labels for food.

The framework can be used to design new, or evaluate existing labelling schemes and to identify opportunities for improvements. The process is illustrated with an application to four existing schemes.

Eco‐labelling of food products is gaining interest globally, but there are numerous issues that need to be fully understood in order to develop credible and robust labelling systems.

Take a look at eight people behind the eight ball.

A year into the launch of TiVo—the “revolutionary new personal TV service that lets you watch what you want, when you want”—John Tebona, VP of business development, was faced with important decisions about TiVo's revenue model and strategic alliances. With television's move from a network-based model to an interactive one, he had to decide what role TiVo would play in the emerging industry landscape. Would TiVo be just a set-top box or would it live up to the vision of revolutionizing the television viewing experience? What revenue streams should it emphasize to capture the most value? What strategic relationships must TiVo form in an environment where companies were cross-investing in multiple technologies across different industry segments? How could it expand its customer base and accelerate its revenues before competitors like Microsoft's WebTV became the default standard?

To understand that disruptive innovation from a value creation standpoint may not mean a profitable or viable business from a value capture standpoint; products are far easier to create than robust business architectures with solid profit engines; the future of interactivity is clouded by the conflicting visions of the varied players; and control over standards is a valuable choke point.

This paper aims to identify a variety of titles and resources to offer both public and academic librarians guidance in establishing and maintaining a definitive core collection of past and present materials.

The annotated bibliography includes CD recordings, films, documentaries, serials, monographs and web sites on rap music and hip‐hop culture. The entries chosen were culled from rap music periodicals, reference works, catalogs and journals.

These resources showcase the innovation of rap's formative years. They trace the broad scope of rap musical styles and document and critique hip‐hop culture.

These selected titles capture distinctive periods in hip‐hop history and help librarians stay current and conscious of what to include in their collections as rap becomes more mainstream and more respectable.

To present the highlights of The Association for Strategic Planning's 2004 conference, “Strategy in a Turbulent World”.

S&L Contributing Editor Stan Abraham attended the conference and selected the most interesting presentations for his report.

Highlights include: Dwight Allen, “Globalization at risk,” David La Piana, “Nonprofit organizations,” Peter Bershatsky, “Managing innovation,” and Doug Randall, “Imagine the future.”

These are conference presentations with various research methodologies.

In his presentation, Dwight Allen suggests that great uncertainty exists as to how international or global trade might develop. Faced with such uncertainty, strategists should undertake scenario planning to develop flexible strategies that can be implemented in a variety of futures.

This paper seeks to explore a host of straight‐to‐DVD and direct‐download motion picture marketing, production, and distribution strategies deployed by Florida‐based Maverick Entertainment. The focus is Maverick's most prominent and successful sub‐genre “urban teen gangsta” films.

The somewhat wide‐ranging and eclectic approach taken in this paper draws from two emergent academic subdisciplines: consumer culture theory (CCT), largely on the business‐school side, and media industry studies (MIS), largely on the communications‐school side. The project thus attempts to bridge the interpretive poetics and eclecticism of CCT with the interpretive aesthetics and eclecticism of MIS and relies on a blend of filmic, marketing, PR, journalistic, trade publication, and academic evidence.

It is argued that “marketing mimicry” – where Maverick imitates specific successful urban‐teen themed cross‐over film marketing strategies of major and mini‐major Hollywood studio titles – was crucial to the start‐up's success.

Marketers outside the USA will find it somewhat difficult to glean generalizable lessons based on the strategies and principles evaluated here. Future research should be conducted in the area of direct‐download of urban teen filmed content, particularly vis‐à‐vis Maverick's new direct‐download partners such as Hulu, YouTube, Amazon VOD, Facebook Store, and Gigaplex. Future research should also look into the extent to which the somewhat pervasive notion of a “global teen audience” is valid for this sub‐genre of films.

Marketers are advised to thin‐slice the appeals of their teen‐themed product‐lines to maximize the appeal to given sub‐segments. Marketers may beneifit by developing ethical non‐harmful iterations of marketing‐mimicry in their market space.

Scholars who analyze teen‐themed marketing strategies often tend to construct some version of the “global teenager”. The current paper focuses largely on African American and Latino American teens.

This is the first paper to analyse how a small firm successfully markets to the urban American teen film audience. It is also the first academic paper to explore the concept of marketing‐mimicry.

As after the Second World War, the USA today plays a dominant role in the world following the end of the Cold War. Since 1989, and up to this day, two main theories of history's unfolding, the circular view and the linear view, clash as far as the future role and position of the USA is concerned. On the one hand, Paul Kennedy's The Rise and Fall of the Great Powers (1987) and advocates of the circular theory predict the decline of the USA, as history has shown that all empires that have risen have ultimately fallen. On the other hand, advocates of the linear theory, such as Nye and Fukuyama, postulate the continuation of USA leadership in the world and the inevitable spread of liberalism sooner or later. Both views, however, are mechanical and deterministic. The alternative is the realization that global challenges can only be met globally by global actors.

Specialization has enabled one plastics manufacturer to compete against such industry titans as du Pont, GE, and Monsanto.